Mark D'agostino
Forum Replies Created
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So by shooting 720 with the 900 I’m simply eliminating the transcoding to 1080 in-camera? So I could shoot 720 and transcode to 1080 in playback with the same quality results as if I had selected 1080 in the first place with the camera.
Mark D’Agostino
http://www.synergeticproductions.com -
We own a whisper quiet 5500W Honda generator. Years ago we purchased a small 2000W Honda eu2000i generator to supplement that. It runs relatively quiet in normal mode and very quiet in economy mode. I’ve recorded sound outdoors using it and have been quite successful with 100-150 foot cable runs. The thing is small and easy for one person to throw,(gently),in the back of a van.
https://www.hondapowerequipment.com/products/models.aspx?page=models§ion=P2GG&category=sqMark D’Agostino
http://www.synergeticproductions.com -
I totally agree that a thousand bucks won’t do it and that they need to hire a professional. However, just curious,what are the actual room dimensions including ceiling height? Also, are their events all similar with speakers at one end and people seated or is there a great variety with folks roaming about the room? When they say the videos are dark, is that because they try to shoot toward the windows?
Mark D’Agostino
http://www.synergeticproductions.com -
Under these same conditions dumping to small cheap field drives has work flawlessly for us for several years. Why is that not an acceptable method in this case.
Mark D’Agostino
http://www.synergeticproductions.com -
I pretty much am with Alan on this. My “kit” for location green screens includes 2-Arri 1K fresnels, (I’d love the bucks for 2 Kinos for this), with light diffusion cross lighting the background at an angle to minimize reflection back to the talent, (that angle of reflectance stuff). I also add a chroma green gel to those and that really does help. I light to about 50IRE and try to be sure it’s not brighetr than the key. My back/rim is typically a 450W Lowell Omni with diffusion and 1/4 magenta. My fill, if I use one, is almost always a bounce card. Chimera 1000, or 500W, (tota) is my choice of key. My green screen is a Wescott green screen. Now this is all based on not trying to match the lighting for the background. My preference is to know my background first so I can light the subject accordingly. That’s usually a luxury. One more thing, if you’re in a room and can’t get all the ambient daylight out then add 1/2 blue correction to all the lights if you’re using tungsten.
Mark D’Agostino
http://www.synergeticproductions.com -
I apologize if this sounds a bit stern but in the spirit of these forums I thought direct sales pitches were to be avoided. The beauty of the Cow is to be able to discuss and debate and not to be sales pitched. If I am mistaken then please forgive.
Mark D’Agostino
http://www.synergeticproductions.com -
Jeff,
Your reply is short, to the point and the best yet. We all need to vent on this for sure, (I’ve done a lot offline), but once we catch our collective breaths we’ll do like we did when D-vision tanked, when Media100 first bailed, when 844/X proved to be a short term joke… hike up our pants and figure out the next workflow that does what we need. FCP7 is still solid and there’s not hurry to jump ship for a bit. We’ll be taking the next few months to carefully assess the next step, try a couple things and move on.
Mark D’Agostino
http://www.synergeticproductions.com -
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Absolutely beautiful! Breathtaking in fact. Thanks for easing me peacefully into the weekend Erik. Has anyone seen a demo that shows fast action both within the scene as well as using fast camera movements, (pans, dollies, jibs and ***handheld), with the AF-100? Most of these demos tend to show slow elegant stuff. This happens to be one of the best I’ve seen in terms of showing off that side of the camera.
Mark D’Agostino
http://www.synergeticproductions.com